Steven Tsai by Steven Tsai

STEVEN TSAI SELECTED WORKS

STTS Steven Tsai selected works steven.s.tsai@gmail.com 504.957.0503

Contents GUGGENHEIM HELSINKI 4-25 BUSAN OPERA HOUSE 26-43 HAPPY ACCIDENT 44-49 InBLOOM 50-61 SCISSOR KICK 62-71 THE DIVIDING SPACE 72-85 RIVERFRONT DEVELOPMENT 86-95 IDEA CITY 96-103

OASIS TAIPEI 104-113 RAFMÖGNUÐ NÁTTÚRA 114-121 CHENGDU MASTER PLANNING 122-129 NEW RUSSIA 130-137 EXPERIMENTS IN MOTION 138-147 KORO SKYLIGHT 148-163 RED BULL MUSIC ACADEMY 164-183 JARMULOWSKY HOTEL 184-195 MoMa PS1 YAP 2014 Hy-Fi 190-195

Museum Proposal

GUGGENHEIM HELSINKI Helsinki, Finland

Published by Arch Daily.com http://goo.gl/Wy49he A Public Art Concourse This proposal for the Helsinki Guggenheim combines two key elements of the contemporary art viewing experience: the grand concourse for large-scale installations and activities, and the intimate gallery in which highly specific exhibitions can be framed and staged. Typically, smaller gallery spaces are nested within the larger form of the museum, unseen to the public eye. In this case, they define the architecture, establishing a strong presence along Helsinkiâ&#x20AC;&#x2122;s South Harbor by creating a new rhythm of masses instead of dominating with a single shape. On the interior, a triple-height public concourse cuts through the entire length of the building, connecting the outdoor plaza to the north with the ferry terminal to the south of the site. It functions not only as a lobby and gathering space, but a public exhibition hall, complemented by a ring of services that runs around the perimeter. These include ticketing, retail, and dining programs along the waterfront side for museum visitors as well as private service space, such as office, loading and storage for museum employees. This ring, constructed out of a wood frame and glass panels, allows for an abundance of natural light and views out to the harbor.

Five Facades Responding to Context The wood frame and concrete gallery boxes are in constant dialogue with one another. From afar, the frameâ&#x20AC;&#x2122;s grid pattern is like a thin screen that envelops a collection of solid boxes, a light counterpoint to the solidity of the boxes. Upon getting closer, however, the ways in which the gallery boxes respond to the particularities of the site become apparent. Along the waterfront edge, they extend and recede at variable lengths to animate the waterâ&#x20AC;&#x2122;s edge and provide shaded areas for potential pedestrian activities. In contrast, they remain flush with the structural frame on the western edge of the site in response to the regularity of existing facades in the surrounding context. The largest gallery box is placed on the north side to establish the museum entrance, while a view tower rises to the south with a pedestrian bridge connection to the park. The roof, visible from the park, highlights the dynamism between the boxes and the frame. The Gallery Loop Where the primary circulation functions as a central path on the ground floor, it flips to occupy the periphery on the upper floor. A continuous bridge runs through each of the five gallery spaces, connecting them in a large loop. Each gallery interior alternates with views onto the harbor, and thus the site is integrated and interspersed through the gallery sequence as if it were simply another canvas on the wall. It provides huge potential in curating specific narratives for exhibitions, but can easily control access in case of special exhibitions. Where the intersection of the gallery boxes creates interior courtyards at the ground level, it leaves space on the upper levels for views down onto the grand concourse below, stimulating overlaps between different audiences and enriching the art viewing experience.

A ANT

LAR

ETE

PUBLIC SQUARE

IVA

SI LL

KA TU

TAHITITORNIN VUORI PARK

SOUTH HARBOR

PORT

Each elevation of the museum responds to various site conditions: the still

The grand co

functioning port, Palace Hotel, South Harbor, Western Street, and the Park.

the southern

and storage a

The gallery spaces are connected by an upper level walkway in a continuous

Louvers in th

loop. In addition, vertical elevator cores provide ample accessibility from the

erable glass p

tain a therma

A ANT

LAR

ETE

ICE RV SE

IVA LA

SITE

SI LL RV ANK IC E ATU

TAHITITORNIN VUORI PARK

PUBLIC SQUARE

SOUTH HARBOR PORT

he still

The grand concourse acts as a view corridor to the Palace Hotel and connects

e Park.

the southern port to the northern public square. Services such as loading docks and storage are located on the west side of the museum, off of the service street.

ontinuous

Louvers in the glass perimeter will control sunlight and heat gain, while select op-

rom the

erable glass panels allow ventilation of any built up heat. The gallery boxes maintain a thermal mass that is conducive to both heating and cooling of the space.

8 6

GROUND FLOOR

1 Retail 2 Ticketing 3

3 Public Concourse 12

4 Cafe 5 Kitchen 6 Kitchen Prep/Storage 7 Staff Lounge

8 Maintenance/Operations 9 Loading Dock 10 Collections Storage 11 Ferry Terminal 12 Courtyard

LOOR

2ND FLOOR 2ND FLOOR 13 Exhibition gallery

3RD FLOOR 3RD FLO

13 Exhibition gallery

17 Multi-function classroom 17 Multi-function clas

18 Multi-purpose zone/atrium 18 Multi-purpose zon 14

15 Public Concourse Void15 Public Concourse Void 16 Glass Atrium Void

16 Glass Atrium Void

19 Performance hall

20 Gallery bridge

GRAND GRAND CONCOURSE CONCOURSE

18 13

13 20

14 1

SECTIONSECTION A A

14 9

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SECTIONSECTION B B

ANTA

LAR

ETE

IVA SIL L RV ANK IC E ATU

ILL

Each elevation of the museum responds to various site conditions: the still functioning port, Palace Hotel, South Harbor, Western Street, and the Park.

SITE

SOUTH HARBOR

PORT

PUBLIC SQUARE

AN KA TU

ICE RV SE

TAHITITORNIN VUORI PARK

LA IVA S

TAHITITORNIN VUORI PARK

ANTA

LAR

ETE

PUBLIC SQUARE

PORT

The grand concourse acts as a view corridor to the Palace Hotel and connects the southern port to the northern public square. Services such as loading docks and storage are located on the west side of the museum, off of the service street.

The gallery spaces are connected by an upper level walkway in a continuous

Louvers in the glass perimeter will control sunlight and heat gain, while select op-

loop. In addition, vertical elevator cores provide ample accessibility from the

erable glass panels allow ventilation of any built up heat. The gallery boxes maintain a thermal mass that is conducive to both heating and cooling of the space.

SECTION C

18 13

2nd Place Proposal

BUSAN OPERA HOUSE Busan, Korea

An opera house at its simplest is a black box. It is a container, a vessel in which to deliver and absorb a performance. At the same time, the opera house is a significant contributor to a city’s image, often considered a measure of a city’s cultural agenda. Our proposal highlights the intersection of these two facets– the idea of the opera house as both event and place– in the most literal sense, a large square elevated above the water that is punctured by the theaters and public amenities such as a café, ballroom, and gallery. Instead of building an island for the opera house, our opera house becomes the island itself through which people are filtered. While it functions as a public deck above and houses the back of house and rehearsal rooms within, its underside is also utilized as an undulating roof to a connection of piers where people exit after the performance. Our opera house emphasizes the performance as a pivotal experience so that the space accessed before and after the performance contrast in form and scale. The masses on the roof level are oriented parallel to the city grid to soften the transition between the city and the new waterfront district. Prior to the performance, visitors wander freely on the roof level, where amphitheaters and green space are dispersed among café, ticket office, gallery, and multiple entrances to the theater below. Also puncturing the roof surface is a skylight to a rehearsal room on the lower level. Where the back of house is typically hidden away from public view despite taking up a large part of the opera house, our proposal brings this integral component to the forefront by placing it within the large floating square. The square’s continuous glass façade opens up the back of house and allows people to see and visualize the process of putting together a performance. From the roof level, glass cuts into the black boxes as well to reveal glimpses into the main theater space and rehearsal room. The theater crew too benefits from this transparency, being just as connected to the surrounding waterfront views as the public rather than being hidden away in the interior of a building. To preserve the privacy needed by the crew, two main types of circulation differentiate the public and the theater crew despite their visual interconnectedness. The crew moves horizontally across the square to access the back of house, workshops, dressing rooms and rehearsal rooms. On the other hand, the public is led through a vertical procession, from the open deck, down to an interior lobby space and the main theaters, then out onto a connection of piers just above the water. In essence, the back of house, the main engine that runs the opera house, functions as a filter for the audience. They transition from a public deck to a much more intimate gathering space after the performance, with a soft wave-shaped roof that mimics the water surface. Filtration visualizes the contradictions of the opera house as a place for both projecting out and tuning in. 26

audience audience

crew crew

audience audience audience

crew

Honorable Mention Proposal

HAPPY ACCIDENT

13th Venice Biennale of Hong Kong Hong Kong, China Publication: http://koozarch.com/2014/07/11/happy-accident/ Hong Kong is a culturally diverse city, where a wide range of ideas and events take place every minute in a small, yet hyperactive environment. While people are free to express their opinions and live the way they desire, the city is at the same time incredibly inclusive, allowing differences to coexist in surprising ways. The key concept of our bench proposal is to capture this duality. The bench is composed of two simple elements– a horizontal plane and a series of steel chair backings. Although the scattered quality of these chairs seems to tout a sense of individuality, they are carefully arranged to form small clusters, encouraging communication and interaction between users. In some cases, the backings are adjacent to openings cut into the bench and thus have no seat to speak of, instead becoming frames within which trees can be planted. As multiple openings cluster together, they form a kind of courtyard around which people can sit and literally “inhabit” the bench. Given the simplicity and openness of our design strategy, the bench is able to adapt to numerous settings– a small bench for three people at a bus stop, a longer one along the waterfront, or even multiple rows in a park. A wood texture pattern engraved onto the bench creates a distinct visual and tactile effect, also camouflaging more pragmatic functions as the thicker lines form grooves that allow for water drainage. The bench creates a sense of place where freedom and unity meet.

Installation

InBLOOM

DesCours 2012 New Orleans, Louisiana Publication: https://spaceshippers.wordpress.com/ Video: http://goo.gl/bezBpD This proposal aims to create a dynamic relationship between the exhibit and the onlooker. With all the technology available today we hope that we could facilitate a stronger link between our consciousness and the environment we impact. The intention of the design is to use simple methods of construction and electronics to create a visually compelling installation. The presentation consists of a floating field of blossoms that are interactively linked to various hot spots around the site. Each blossom pulsates slowly while hovering in the dimly lit space. As the participant walks through the exhibit the blossoms react inversely to their position. When it detects a prolonged presence the idle pulsating stops and the blossom flowers. While the user remains in the hot spot the expanded blossom is frozen until they move on. When this happens, the blossom retracts until it returns to an idle state. Taking advantage of the dimly lit space, the blossoms expose themselves through a transformation of both form and light. The glow from each blossom changes in color temperature and intensity depending on the duration of the user interaction. Though the presentation is a simple one, a level of complexity is generated from the interaction of the participant â&#x20AC;&#x201D; creating a conscious understanding of the environment they are in.

Street Market Proposal

SCISSOR KICK

New Museum Idea City 2014 New York, New York Relationship with Context, Street markets and festivals alter the appearance and function of the street. However, the typical tents used at such events often create barriers, both visually and physically, to the surrounding city scape. In order to break free from such limitations, Scissor Kicks offers an alternative vision of temporary shelters, providing a provocative visual and spatial experience while rooted in a simple construction process. Wall and roof of conventional tent structures are blurred through the use of two contrasting elements—the rigid frame and the fluid fabric. Scissor Kicks integrates itself into the site, altering people’s experience of the Bowery, especially with the reflective qualities of the fabric in mirroring its surroundings. Viewed from opposite the New Museum across the street, the flowing fabrics cannot help but tantalize passers-by. The series of triangular openings created by the fabric, partially covering the street elevation behind but all the while framing and revealing both the activities under the shelters and buildings along the street front, completely changes the street frontage along the Bowery. In addition, when one passes through the structure itself, both visual and spatial experiences are contrary to what one may experience outside. The modules create an intimate space through a corridor of arches where different types of activities, such as markets, workshops, and performances, can take place. Structural Module Each module consists of two square frames that are hinged at the top and bottom—the primary structure— and the silver metallic fabrics that warps with the surrounding frame. The module maintains a strong relationship between structural frame and fabric. The two square frames are hinged at their respective midpoints, effectively creating a selfsupporting structure when the two frames are moved perpendicular to one another, while the skin weaves delicately through the structure following the direction of the cross. Consequently, this creates a dynamic warped surface, and establishes a contrast between the rigid square frames and the fluid, curved fabric. The modules would be prefabricated offsite, with the silver fabric integrated into the collapsible hinged frame. The frame can be collapsed and transported in large quantities to any site, and the flexibility of it assemblage can accommodate a variety of events.

OVERHEAD FRAME EYEBOLT DETAIL

Details (Scale 1:5) STEEL MEMBERS 38mm x 38 mm DURING WELDED OFFSITE STEEL TUBE PREFABRICATION

SILVER FABRIC

INTERMEDIATE FABRIC MADE ON SITE WITH 38mmTAUT x 38 mm ZIP TIESTUBE STEEL EYELET OF FABRIC TO BE ATTACHED TO EYE BOLT DIRECTLY ON FRAME DURINGFABRIC PREFABRICATION SILVER

FABRIC ATTACHED TO FRAME DURING PREFABRICATIONHINGE TO HOLD AND METAL PIVOT 2 FRAMES 38mm x 38 mm OVERHEAD; INSTALLED STEEL TUBE DURING PREFABRICATION STEEL MEMBERS WELDED OFFSITE DURING PREFABRICATION

SILVER FABRIC

38mm x 38 mm FLAT STEEL STEEL TUBE BAR

OVERHEAD FRAME EYEBOLT DETAIL

GROUNDED PIVOT CORNER DETAIL OVERHEAD HINGE DETAIL SILVER FABRIC

2.5 M 2.5 M

FABRIC ATTACHED TO FRAME DURING PREFABRI38mm x 38 mm CATION STEEL TUBE 38mm x 38 mm INTERMEDIATE STEEL TUBE FABRIC MADE TAUT ON SITE WITH STEEL MEMBERS ZIP TIES WELDED OFFSITE DURING PREFABRICATION

2.5 M

OVERHEAD FRAME CORNER DETAIL

FLAT STEEL BAR SILVER FABRIC

FLAT STEEL BAR METAL HINGE TO HOLD AND PIVOT 2 FRAMES METAL HINGE TO HOLD AND OVERHEAD; INSTALLED PIVOT 2 FRAMES ON DURING PREFABRICATION GROUND; INSTALLED DURING PREFABRICATION

38mm x 38 mm STEEL TUBE

GROUNDED CORNER DETAIL

2.5

OVERHEAD FRAME EYEBOLT DETAIL GROUNDED PIVOT HINGE DETAIL OVERHEAD PIVOT HINGE DETAIL SILVER FABRIC

FABRIC HINGE ATTACHED TO AND METAL TO HOLD FRAME2DURING PIVOT FRAMESPREFABRICATION OVERHEAD; INSTALLED DURING PREFABRICATION 38mm x 38 mm STEEL TUBE STEEL MEMBERS WELDED OFFSITE DURING 38mm x 38 mm PREFABRICATION STEEL TUBE

FLAT STEEL BAR METAL HINGE TO HOLD AND PIVOT 2 FRAMES ON GROUND; INSTALLED DURING PREFABRICATION

FLAT STEEL BAR

OVERHEAD PIVOT HINGE DETAIL GROUNDED CORNER DETAIL GROUNDED PIVOT HINGE DETAIL

Phasing Diagram FLAT STEEL BAR

METAL HINGE TO HOLD AND METAL HINGE TO HOLD AND PIVOT 2 FRAMES ON PIVOT 2 FRAMES GROUND; INSTALLED OVERHEAD; INSTALLED DURING PREFABRICATION DURING PREFABRICATION

38mm x 38 mm STEELTUBE CROSS BARS OVERHEAD TO BEAR 38mm xLATERAL 38 mmmmLOAD 38mm x 38 STEELTUBE CROSS STEELTUBE CROSS BARS OVERHEAD TO BARS OVERHEAD TO BEAR LATERAL LOAD BEAR LATERAL 38mm x 38 mmLOAD

Structural Axonometric Diagram

STEELTUBE TO BEAR VERTICAL LOAD

2.5 M

38mm x 38 mmmm 38mm x 38 STEELTUBE TO BEAR STEELTUBE VERTICAL LOADTO BEAR VERTICAL LOAD 38mm x 38 mm STEELTUBE TO BEAR VERTICAL LOAD

2.5

M 2.5

2.5

FLAT STEEL CROSS FLAT STEEL CROSS BAR TO AS AAS A BAR TOSERVE SERVE FOOTING AND USEUSE FOOTING AND FRAMES’ WEIGHT TO FRAMES’ WEIGHT TO HOLD PIVOTED FRAMES HOLD IN PLACEPIVOTED FRAMES IN PLACE

2.5 M

FLAT STEEL CROSS BAR TO SERVE AS A FOOTING AND USE FRAMES’ WEIGHT TO FLAT STEEL CROSS HOLDTOPIVOTED FRAMES BAR SERVE AS A IN PLACE AND USE FOOTING FRAMES’ WEIGHT TO HOLD PIVOTED FRAMES IN PLACE

2.5 M 2.5 M

the interior space of the tent. As it opens, the cross footing will make the frame rigid.

Once completely open, the fabric can be made taut with zip ties. The weight of the Scissor Kick and innate structural design should stabilize the tent.

The Scissor Kicks can be arranged on site to house variety of programs and events.

FLAT STEEL STEEL TUBE BAR

OVERHEAD FRAME EYEBOLT DETAIL

GROUNDED PIVOT CORNER DETAIL OVERHEAD HINGE DETAIL SILVER FABRIC

2.5 M 2.5 M

2.5 M

FABRIC ATTACHED TO FRAME DURING PREFABRI38mm x 38 mm CATION STEEL TUBE 38mm x 38 mm INTERMEDIATE STEEL TUBE FABRIC MADE TAUT ON SITE WITH STEEL MEMBERS ZIP TIES WELDED OFFSITE DURING PREFABRICATION

2.5 M

OVERHEAD FRAME CORNER DETAIL

FLAT STEEL BAR SILVER FABRIC

FLAT STEEL BAR METAL HINGE TO HOLD AND PIVOT 2 FRAMES METAL HINGE TO HOLD AND OVERHEAD; INSTALLED PIVOT 2 FRAMES ON DURING PREFABRICATION GROUND; INSTALLED DURING PREFABRICATION

38mm x 38 mm STEEL TUBE

GROUNDED CORNER DETAIL

2.5

M 2.5

OVERHEAD FRAME EYEBOLT DETAIL

GROUNDED PIVOT HINGE DETAIL OVERHEAD PIVOT HINGE DETAIL SILVER FABRIC

FLAT STEEL BAR

2.5

METAL HINGE TO HOLD AND PIVOT 2 FRAMES ON GROUND; INSTALLED DURING PREFABRICATION

FLAT STEEL BAR

2.5 M

OVERHEAD PIVOT HINGE DETAIL GROUNDED CORNER DETAIL GROUNDED PIVOT HINGE DETAIL

Phasing Diagram

2.5 M 2.5 M

FLAT STEEL BAR METAL HINGE TO HOLD AND METAL HINGE TO HOLD AND PIVOT 2 FRAMES ON PIVOT 2 FRAMES GROUND; INSTALLED OVERHEAD; INSTALLED DURING PREFABRICATION DURING PREFABRICATION

38mm x 38 mm STEEL TUBE

GROUNDED PIVOT HINGE DETAIL OVERHEAD PIVOT HINGE DETAIL

The Scissor Kicks arrive on site as collapsed frames. It can be loaded on to any truck and be brought to site in large quantities.

The collapsed frame is stood up vertically to allow for the nested frame to pivot out.

the interior space of the tent. As it opens, the cross footing will make the frame rigid.

Once with struc

38mm x 38 mmmm 38mm x 38 STEELTUBE TO BEAR STEELTUBE VERTICAL LOADTO BEAR VERTICAL LOAD 38mm x 38 mm STEELTUBE TO BEAR VERTICAL LOAD

2.5

FLAT STEEL CROSS FLAT STEEL CROSS BAR TO AS AAS A BAR TOSERVE SERVE FOOTING AND USEUSE FOOTING AND FRAMES’ WEIGHT TO FRAMES’ WEIGHT TO HOLD PIVOTED FRAMES HOLD IN PLACEPIVOTED FRAMES IN PLACE

2.5 M

FLAT STEEL CROSS BAR TO SERVE AS A FOOTING AND USE FRAMES’ WEIGHT TO FLAT STEEL CROSS HOLDTOPIVOTED FRAMES BAR SERVE AS A IN PLACE AND USE FOOTING FRAMES’ WEIGHT TO HOLD PIVOTED FRAMES IN PLACE

2.5 M 2.5 M

of the tent. As it opens, the make the frame rigid.

Once completely open, the fabric can be made taut with zip ties. The weight of the Scissor Kick and innate structural design should stabilize the tent.

The Scissor Kicks can be arranged on site to house variety of programs and events.

New Taipei City Art Museum Proposal

THE DIVIDING SPACE Taipei, Taiwan

Publication: http://www.archdaily.com/164093/new-taipei-city-art-museum-proposal-studio_kick/ The design focus is not to design an iconic form for the museum, but an iconic field activated by the museum, with events and interactions for the people. Rich in culture and natural scenery, Yingge, a western district in New Taipei City is an energetic city full of ongoing events. Therefore, the solution for a Modern Art Museum lies far from the traditional modern museum typology. More images and architects’ description after the break. New Museum Typology Establishing an isolated but easily accessible space on site generates interaction in the field that merges art with people’s everyday life. This museum not only provides a physical form, but a space that evokes natural public flow. It is a flexible space which houses different activities and links them to art and culture. The museum becomes the city’s lobby or ‘The Gathering Field.’ The site is located between Yingge Rock and Yinggle River. By creating a neutral space isolated from the city and nature, it creates a space for gathering. People looking at art, people looking at people and people at commercial activities adjacent to the museum are all as interrelated as possible. ‘The Loop’ The ‘field’ is formed in the center of the museum by four walls, with two edges lifted up, that connects the city with the river. The museum entry at the center provides interactions between the general public and museum visitors. ‘The Loop’ is a circulation created as a semi-public space intervening commercial programs that lead the flow into the museum step by step.

6 4

Sustainable strategies 1 photovoltaic power generation 2 Natural ventilation 3 Energy efficient air conditioning W/ natural ventialtion 4 Thermal efficiency / low-e glass 5 Rainwater recycling system 6 Diffuse lighting and ventilation 7 Space specific lighting

2 1

A B

Semi Public Loop People Flow

A A

B B

C C

D D

Development Proposal

RIVERFRONT DEVELOPMENT New Orleans, Louisiana

The building exists in the heart of downtown New Orleans as a bridge between French Quarter visitors and the banks of the Mississippi River. The project performs on two separate levels, one retail and transportation level that is scaled to the intimate setting of the French Quarter, and another public level lofted from the street elevation. Ground program includes streetcar and ferry access allowing the project to be approached from both the side and the stomach of the inverted tower. The lofted program allows public access to hotel, restaurant, and bar programs highlighting river and downtown views through a glass cut made in the lofted massâ&#x20AC;&#x2122;s facade. Other public program located on top includes a casino and glass amphitheater also suggested by a separate glass cut in the facade. The diamond skin of the building folds on and off of surfaces, becoming its own platform at certain times accessed from the ground plane in various locations. Coalescence brings various programs, users, and movements together in a single space

LOBBY CONDO

LOBBY

HOTEL

WHAT IF

CONDO

HOTEL

LOW

HIGH

STRESS SCALE

New York City Concept Competition

IDEA CITY

New York, New York An Intimacy With Buildings She was standing next to the Empire State building, ninetyeight floors above the original ground. If she stretched out her hand she could touch the spire, for the path jutted in quite close at the southern façade and made for a rather cozy picnic spot. The ground beneath her feet was light, like a ribbon. It weaved in and around buildings, sometimes hugging the edge of old commercial towers, sometimes shooting out into open space, or squeezing in between thin crevices so narrow it was difficult to avoid brushing against the adjacent brick façade. The city was so packed there were no visible landmarks anymore. Rather than competing to construct ever higher towers, New York had taken to multiplying the street instead of floor plates; the city, as always, was ahead of the game. Clearly, this new web of grand boulevards and meandering streets had a life of its own, and yet, wholly relied on the surrounding buildings – their fenestration, materiality, details – to give it character. On the one hand, the multiplication of streets connected the buildings into a larger network. On the other hand, because any given floor now had the potential to connect to an elevated street, the concentration of disparate programs into a single building – the logic of the skyscraper – was now inverted. One building is consequently split into several buildings, once again revealing the unique programs within each floor previously hidden behind a unifying façade. There was no longer a single roofscape; the domineering elite of rooftop gardens and penthouses had disappeared with the elevation and multiplication of the streets. Instead, streets permeated the thicket of buildings, denser in some areas than others, so that on late summer afternoons, the sun created a stippling light effect cascading down the layers of streets. Viewed from afar, the iconic New York skyline is no longer legible, subsumed by a light three-dimensional grid bustling with activity – as if the famed blueprint of the city has been flipped up for all to see – blurring the distinctions between building and environment – in essence, merging the city into a single “building”.

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Mixed-Use Tower

OASIS TAIPEI

Taipei, Taiwan w/Koko Architecture JUT Land Development Group Completion in 2017 275,800 SF $1320 - $1500/SF 5,900 SF Unit

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â&#x20AC;&#x153;Dominoâ&#x20AC;? inspired free floor plan

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Insert cores and mechanical

Customized Units based on residentsâ&#x20AC;&#x2122; preference/needs

Building facade created by variations of units on each floor. Maximizing the use of square footage

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Building Projection Installation

RAFMÖGNUÐ NÁTTÚRA w/Marcos Zotes Reykjavik, Ice Land

http://www.rafmognudnattura.com/ Rafmögnuð Náttúra is a temporary, site-specific installation that animates the facade of Iceland’s Hallgrímskirkja Church. Inspired by the extreme natural conditions of Iceland and working with the unique architecture of the building, the static condition of this iconic landmark is transformed into a community-engaging audiovisual experience. Rafmögnuð Náttúra was selected as the winner competition entry for the Reykjavik Winter Lights Festival 2012 opening act, which was organized by Höfuðborgarstofa, Orkusalan and the Iceland Design Centre. With only three weeks to deliver his winning light installation, Marcos Zotes gathered and lead a multidisciplinary team in New York and Reykjavik to collaborate with him in his creation. The collaboration of different media artists, and a strong attitude towards a multidisciplinary approach to their artwork, formed the central core for the success of Rafmögnuð Náttúra. The project provided a unique opportunity for exploring new collaborative processes for creative production, in which a team of architects, designers, visual artists, musicians, dance performers and video artists were brought together to share their particular tools, art techniques, and design methods towards a unified vision.

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Urban planning

CHENGDU MASTER PLANNING Chengdu, China w/Columbia C-Lab & INABA

“Lowers expansion costs accelerate development in both city and agriculture.” A single urban ring road is an efficient means to manage traffic and delimit development. But each successive ring introduced into a fast growing city diminishes flows of movement, encourages uneven patterns of settlement, and costs much more to build. Replacing the concentric ring road logic with a ‘two-halves’ model establishes a clear plan for development that respects the traditional northsouth axis while better managing local resources. In the case of Chengdu – which is located in one of the few Chinese regions where agriculture is economically viable – the fertile soil to the west is utilized for much needed crop production. A crescent defines a zone for farming and limits urbanization around rivers originating from the province’s western mountain range. On the eastern half, the city is zoned for commercial, residential, and industrial uses along the interregional infrastructure corridor. A ‘loopy’ road connects future urban nodes preemptively eliminating the need for additional rings.

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The typical ring road plan eases congestion in the urban core and it establishes a clear controlled pattern of growth. As a city expands and outgrows its center, the tendency is to build another ring CHENGDU DEVELOPMENT 2050 road. The the city expands, the ring roads become exponentially inefficient.

Dividing development into two halves, it lowers the cost of expansion and allows for more efficient development.

The western half focuses on agricultural development. It limits urban sprawl protects the rivers and forests and allows for food production.

As the city grows, it focuses its expansion to the eastern halve. This allows the city to develop without having to worry about jeopardizing its food supply and natural resources

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THE GARDEN CITY MODEL WAS BASED UPON SYMMETRICAL CONCENTRIC RINGS

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DUJIANGYAN

XINDU

CHONGZHOU

QINGBAIJIANG WENJIANG

JINTANG

JINNIU CHENGHAU QINGYANG

DAYI

WUHO JINJIANG

LONGQUANYI

SHUANGLIU XINJIN

QIONGL

PUJIANG

... WHEREAS CHENGDU’S NATURAL GEOGRAPHY AND PLANNING ARE ASYMMETRICAL

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PENGZHOU 彭州市

DUJIANGYAN 都江堰市

PI 郫县

XINDU 新都区

QINGBAIJIANG CHONGZHOU

青白江区

WENJIANG

崇州市 DAYI 大邑县 LONGQUANYI 龙泉驿区

SHUANGLIU QIONGLAI

XINJIN

邛崃市

新津县

双流县

PUJIANG 蒲江县

ANNUAL AGRICULTURAL OUTPUT BY COUNTY (CNY BILLION)

128

JINTANG 金堂县

温江区

AGRICULTURAL REAPPROPRIATION

PENGZHOU 彭州市

DUJIANGYAN 都江堰市

XINDU

新都区

郫县

QINGBAIJIANG CHONGZHOU

JINTANG

青白江区

WENJIANG

金堂县

温江区

崇州市 DAYI 大邑县 LONGQUANYI 龙泉驿区

SHUANGLIU QIONGLAI

XINJIN

邛崃市

新津县

双流县

PUJIANG 蒲江县

PROPOSED AGRICULTURAL OUTPUT BY COUNTY

FOREST

FAR FROM CITY CENTER

PARK

HIGH DENSITY + HIGH OUTPUT

PUJIANG

QIONGLAI

DUJIANGYAN

DAYI

JINTANG

XINJIN

CHONGZHOU

PENGZHOU

QINGBAIJIANG

WENJIANG

LONGQUANYI

XINDU

SHUANGLIU

CHENGHUA

WUHOU

JINNIU

QINGYANG

ARABLE

JINJIANG

CLOSETO CITY CENTER

HIGH FOREST + HIGH OUTPUT

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Urban planning

NEW RUSSIA

St. Petersburg, Russia w/INABA 1.25 Million SM Baltros Development â&#x20AC;&#x153;Significantly reduces the infrastructure cost. Reducing on site car traffic More park space.â&#x20AC;? The master plan brief for a 45,000 person residential development outside of St. Petersburg called for the inclusion of increased roads and parking area to accommodate the growing Russian middle-class demand for car ownership. In response, the proposed design instead eliminates all East - West roads. A bike and pedestrian loop connects points within the development while North - South roads provide vehicular access to residential units. The elimination of East - West roads significantly reduces the initial infrastructure costs and increases the area of open park space.

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Urban Planning Research Lab

EXPERIMENTS IN MOTION A partnership between Audi of America and Columbia University GSAPP http://www.experimentsinmotion.com/

The studio studies mobility and the creation of alternative forms of transportation that advance urban development. The idea is to have advances in car technology help to improve the organization of cities. Experiments in Motion is a research initiative conducted by the Columbia University Graduate School of Architecture, Planning and Preservation in partnership with Audi of America to develop and test new paradigms in the relationship between motion, mobility and design. The program will draw from global thought leaders from around the university, architecture and design professionals, and an expanded network of urban mobility experts from New York City and Audi.

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Student work

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PM Congestion

City Primer

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Major Spotlight Taxi Density Monday 7am Cab Fleet Agency Cab Relief Parking

BikeBike Lanes Lanes

City City Primer Primer

Bike Path Bike Path OutdoorOutdoor Bike Rack Bike Rack Bike Lane Bike Lane Bike Shelters Bike Shelters Bike Route Bike Route DavidBike Byrne Racks Bike Racks Special Special Hours Bike Hours Path Bike Path David Byrne 241

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Exhibition at the Essex Street Warehouse in New York City

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Permanent Installation

KORO SKYLIGHT Stavanger, Norway KORO Public Art Norway w/INABA

Skylight is a permanent installation for KORO Public Art Norway measuring 6.6 m (22 ft) diameter, 11.5 m (38 ft) long. It hangs from the foyer of the New Concert Hall in Stavanger, Norway and is visible from the adjacent public plaza, and surrounding neighborhood and harbor, serving as a light beacon for the complex. Responding to the region’s extreme atmospheric conditions, Skylight emits a range of pure color light patterns that contrast the blended luminous tones of the dawn and twilight Nordic sky. Conceived of as an inverted chandelier, Skylight’s light fixtures are mounted facing inward to illuminate the structure’s interior surface. Its programmable LED system is animated to change in brightness and hue, and produces distinct patterns during arrival, theater calls, intermission, departure, and after hours. Skylight is based on a simple cylinder. Areas along the cylinder’s surface were removed to create views from the five-story high building interior to the city. The form was refined so that when the 6.5 tonne work is suspended from its two supporting pin connections its distributed weight causes the structure to rest at an inclined angle and align with the sun’s angle of incidence during key times over the course of the year. Generating the form from a basic object helped to manage costs within the prescribed budget. Having an unchanging cross section along the cylinder’s length afforded cost savings for the cladding. It reduced the number of steps required to fabricate and shape parts, which in addition to being more economical, shortened overall production time. On the outside, 2.25 cm (1 in) square profile aluminum tubes were mounted to run parallel to the cylinder’s axis. Applied to the object in this way, the tubes cover the surface without requiring them to be bent or cut at complex angles. Since the curvature of the surface is constant, it was possible to bend all of the interior aluminum panels to the same arc radius or curve, and as a result, it shaved time off the fabrication schedule. It also simplified the assembly connections by enabling the use of standardized details. The project was selected by KORO from a field of five invited international teams who participated in a competition for the commission. The New Concert Hall was designed by Oslo-based Ratio Arkitekter. It is located at the heart of Stavanger’s planned arts district, positioned among several buildings dedicated to music performance and study.

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Headquarter Design Build

RED BULL MUSIC ACADEMY Red Bull North America w/INABA 38,200 SF

Commissioned by Red Bull Music Academy to transform four floors of a vacant building in New Yorkâ&#x20AC;&#x2122;s Chelsea neighborhood into a model learning environment. Dramatic walls and lighting create unique collaborative work areas in place of the traditional classroom. Curving walls throughout the 38,000 square foot forum shape the distinct spaces. On the ground level the walls extend far into the former warehouse allowing passersby and users unrestricted views across the floor. They show a cross section of the types of activity taking place which include performances, private workshops, music production, and broadcasting, and revealing that the space is different in its use from the shops, galleries, and cafĂŠs of the area. Below, on the cellar level, the arcing walls of the capsule-shaped lounge are interrupted only to establish long views from the recording studio located at the south end to the open-air patio at the north. On one of the upper floors, the similarly rounded walls enclose eight collaborative music studio pods. Since learning occurs in different kinds of contexts, the two lower levels are organized to provide a range of spaces for discussion and collaboration. Their central areas accommodate big gatherings like receptions and performances. People can interact for an extended period of time in more personal settings nearby including a living room-like auditorium, radio studio, production studio, rehearsal room, and several lounges. In an interior that is used at all hours of the day, the lighting plays a key role in establishing the architectural atmosphere. During the day the central area on the ground level receives generous amounts of natural light from high floor-to-ceiling windows, while at night it is illuminated by rows of warm-colored customfabricated neon fixtures. The overall lighting is accented with various feature elements like diffused LED lighting that illuminates the radio studio and a programmable LED system that focuses light on rows of acrylic tubes above the bar. The cellar lounge has a low ceiling embedded with hundreds of linear LED fixtures to create a distributed field of light. Curved FRG light diffusers lend an intimate quality to the auditorium while the ceiling structure supports light riggings for more theatrical effects. In smaller ancillary spaces, colored neon and grazing fixtures are employed in combination with high saturation paint. Honors and Awards: AIANY Design Award, 2014 Architizer Architecture + Workspace, 2014 International Association of Lighting Designers Award of Excellence, 2014

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Hotel Renovation

JARMULOWSKY HOTEL New York, New York w/Studio Castellano RAL Development Completion in 2015

Jamulowsky Hotel was a historical bank building, it is being converted in to a high-end residential building. The project involved construction management and the design focus on maximizing square footage for revenue as well as the experience of the residents. The building was restored back to is old appearance and the roof spire was reconstructed and placed back to its original place.

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Young Architects Program Winner

MOMA PS1 YAP 2014 HY-FI Brooklyn, New York w/The Living Completed 2014 Hy-Fi uses biological technologies combined with cutting-edge computation and engineering to create new building materials, The Living will use a new method of bio-design, resulting in a structure that is 100% organic material. The structure temporarily diverts the natural carbon cycle to produce a building that grows out of nothing but earth and returns to nothing but earthâ&#x20AC;&#x201D;with almost no waste, no energy needs, and no carbon emissions. This approach offers a new vision for societyâ&#x20AC;&#x2122;s approach to physical objects and the built environment. It also offers a new definition of local materials, and a direct relationship to New York State agriculture and innovation culture, New York City artists and nonprofits, and Queens community gardens.

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steven tsai selected works steven.s.tsai@gmail.com 504.957.0503